Cinema devolved into the slow-motion industry: spectacles repeat. "Ultima Ratio" speeds up by slowing down the image-fix. Narcotics of perception are not new. Traversing the crime-enriched Bekaa valley, the camera uncovers the age-old industries of hashish, models for altering what we see. So too, the camera follows futures, a flash-forwarded optic, an aesthetic that seeks to perceive what can be seen anew, cut, particled into vivid fields of matter, violently green like the valley itself. “In hashish there is no likeness,” only zero-sites for vision-production then, now as visual senses submitted to the rule of reason. The new reason, as this cinematic skin sees it, is not dead old technology, power and blood, not accelerated nothingness, hype and retro-fascism, but technology, each and every instance, as a talking with the dead -- emotions, optics, hashish, radio transmitters, melo-dramas, fiber optic telecommunications, ideologies, and now, as at the beginning, hashish as primitive technology, the Now as a science-fiction beyond the double binds, the bad infinities of u-/dys-topia. Instead, a tension-less state, a lack of anxiety over demarcating sapience from sentience, automation from human, intelligence farms from organic machines. They -- these voyagers of the ultimate reason -- have no story, it has already happened, spirit became mainframe. A cinema mixing 3-D objects and documentary footage views this state ahead of the state Δ the future returning as past "Mountain of the Sun".